I Flautist SAShashidhar receiving the first copy of a unique “Karnataka Musicians’ Directory” produced by mridangist H.S.Sudheendra from Dr.Aralumallige Parthasarathy. Veteran khanjari vidwan H.P. Ramachar receiving the title of “Suswaralaya Shringa' from Prof.S.K.Ramachandra Rao i WISH YOU l J A HAPPY AND PROSPEROUS DEEPAVALI s' Monisha K. Bolar’s fine debut Bharatanatya performance CALENDAR OF EVENTS: 20th Nov. Sat. 5.30 pm: BTM Cultural Academy presents vocal recital by D.N.Gurudutt, Dr.Jyotsna Srikanth(violin), A.V.Anand(mridanga), Dayanand Mobile (ghata) at Sri. Ramana Maharshi Academy for the Blind, 3rd Cross, 3rd Phase. J.P.Nagar.2()th Nov. Sat. 6.30 pm: MES Kalavcdi presents vocal recital by Sikkil Gurucharan and party at New ( onteience Hall, M.E.S.College,15tb Cross.Malleswaram. 21 st Nov. Sun. 5. pm: Sri Thyagaraja (iana Sahlia I rust and Sri Mukambika lalavadya Sangeetha Kalashaie present vocal re- cital by M.S. Shecla and parly at Sri Vani Vidya Kendra, 4th Main, 2nd Stage, Rajajinagar. 6th Nov. Fri. 6.30 pm: Nadajyothi Sri Tyagaraja Swamy Bhajana Sabha presents vocal recital by R.K.Prasannakumar acc.by Mathur Srinidhi(violin), V. Nanjundamurthy(mridanga) at Sri Kannyakaparameshwari Temple Premises, 8th Cross, Malleswaram. 26th to 28th Nov.: Vamshi Academy of Music Trust & MES Kalavcdi present Karthik Music Festival & 6th An- niversary. 26th Nov. Fri.: 5. pm: Inauguration, 6. pm: Jugalbundi vocal by R.K.Padmanabha & Pi. Nagarajrao Hawaldar, Nalina Mohan(violin). Ramakrishna(harmonium). Rajakesari(mridanga), Gurumurthy Vaidya(tabla). 27th Nov. Sat.: 6. 15 pm: Jugalbandi violin & clarionet concert Mysore Nagaraj(violin). Pt. Narasimhalu Vadavatti(clarionet). H.S.Sudhindra(mridanga), Pt. Vishwanath Nakod(tabla).28th Nov.Sun.: lO.am.Lec-Dem on Samskrithi & Sangeelha by R.S.Nanda kumar at 6.15pm: Flute, sitar & sarangi by B.K.Anantha Ram & Amith A.Nadig (flute duct), Pt. Kumar Das(silar). Pt.l'ayaz Ahmed Khan(sarangi). Charulatha Ramanujam(violin), AAK Sharma (mridanga), Vishwanath Nakod(tabla), Arun Sukumar( rhythm pad). Pramath Kiran (morsing). 26tb to 28th Nov.: Sri. I). Subbaramaiab Fine Arts Trust presents 12th Ragasree sunimclanotsavu. 26th Nov. Fri. 5.30pm : Inauguration. 6.15pm : Geeta- Nritya-Chitra(Kuncha). Geeta -Vasantamadhavi, Nrithya- Aishwarya Nityanand, China (kuncha) - B.K.S. Varma. 27th Nov. Sat. 3pm: Sarnana Ragagalu -demonstration by Amith Nadig and Sameer Rao. 4pm: Layasurabhi -Percussion ensemble dir. by M. Vasudeva Rao. 5 pm : Koteeshwara Iyer’s Life and contribution -demo by 1 larini & Sharada,6.15pm: Sarasa Sangita -conducted by Aravinda 1 lebbar. 2Nih Nov. Sun. 0.30 am: Aadhara shadja -an analysis by Dr. K.V. Rangan, 10.30 am: “Standards in Arts and the role of Media” by N.S. Krishna Murlhy followed by Goshligaana. 4.30pm : Samaaropa Samaarambha - Gandharva Vidyanidhi to Prof. R. Vishweshwaran, Lalithakalashraya to H.L. Nage Gouda, felicitations to C. Ashwath, T.N. Seetarain, Rukminiamma & Dr. A.V.Prasanna, 6.00pm : Vocal Recital by M.S. Sheela, acc. by Sandhya Srinath (violin), V.S. Rajagopal (mridanga), Narayana Murthy (ghata) at Dr.H.N. Kalakshetra, 7th Block, Jayanagar. Nov. Sat. 6.30 pm: Ruugasudhalnya Charitable Trust presents Hindustani vocal concert by Pt. Sharan Gurjar and party at BEL Ganapathy Temple, BEL Colony, Jalahalli. 28th Nov. Sun. 5.30 pm: Kanakadasa Music and Arts Centre presents Kanakadasa Jayanthi — Rendering of Kanakadasa Kritis by Harini & Sharadha acc. by A.V.Satyanarayana (violin), V. Krishna (mridanga). Guruprasanna (khanjira) at 7th Block, 27th Cross, Jayanagar, Adj. to Ayappa temple. JtSK School of Music and Aradliana (Cultural Forum) present “Nadavarsbini” symphony 1 , by little stars (a 30-violin ensemble headed by T.S.Krishnamurthy, 10 vocalists with 10 profes- 'sional percussionists) in aid of ANANYA AROGYADHARA N1DHI ( a health help-line fori I needy musicians launched by ANANYA) followed by GURU VANDANA to Dr.T.S.Sathyavathi I | (a renowned vocalist). Release of CD “SRI SUBRAMANYAYA NAMSTE”, rendered by | iT.S.Krishnamurthy acc.by T.S. Chandrasekhar and M.A. Krishnamurthy. Release of Souvenir i .“NADAVARSHINI” on 4th Dec. Sun. 6 pm. at Chowdaiah Memorial Hall. Tickets avail-. | able at ARADIIANA (pli. 23493538), ANANYA SANGRAHA (ph. 23440409). 2 Karnataka's only English International Journal on music and dance GUNAGRAHI/NOVEMBER...2004 Editor General Karnataka Kala Sri Dr. M. Surya Prasad Phone : 22253975 Associate Editors : Usha Kamath Ph : 25598886 K. Ramamurthy Rao, Mysore Ph : 0821-2371899 B.L. Manjula. Ph: 25519227 Vol. VII Issue 6 November— 2004 INSIDE: Calendar of Events Interview — Pt.Shivakumar Sharma From the Editor General Reviews Classical dance and the Society Chief Patrons :S.K. Lakshminarayana (Babu) Mysore. Ph : 0821-2513414. V. Krishnan, Ph : 23345665 Dr. A.H. Ramarao. Ph : 26691175 M. Bharadwaj, Ph:081 82-222051 H.K. Ganesh, Ph : 56702763 H. Kamalanath, Ph : 26612244 Principal Advisers :Dr. R. Salhyanarayana, Mysore 0821-2567891 T.S. Parthasarathy, Chennai, 044-2459005 Guru Maya Rao, Ph : 22261816 Mattur Krishnamurthy Ph:23346404 Shyamala G. Bhave, Ph : 23443900 Admn. Executive : Dr. H.N. Shivaprakash, Ph: 26672189 Advisory Council : Dr. Manjunath Bhat Ph : 26647654 Durga C. Avarthi, Ph : 25298954 T.A.S. Mani, Ph : 23441515 K. Balasubramanyam, Chennai, Ph : 04424992474 H.N. Suresh, Ph: 23347918 C. Cheluvaraj, Ph : 23328361 Prof.K.E.Radhakrishna, Ph: 23321641 Guru H.R. Keshavamurthy Ph: 23320903 Pt. Parameshwar Hegde, Ph : 23310039 Pt. Vinayaka Torvi, Ph : 23305701 Dr. Vasundara Doreswamy, Mysore, Ph : 0821-2542814, Ranjani Ganeshan, Ph :26615127 Legal Adviser : C.N.Satyanarayana Shastri, Ph. 26620138 EDIT0RIAL0FFICE: "M U N I K 0 T I” NO. 8, S E C 0 N D CROSS OPP. SRINIVASA MANDIRAM, BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : gunagrahi@yahoo.com,drmsuryaprasad@yahoo.com Classification of Bhakti 12 bzi 3^cc3so...S:^)CE:e;520 esorirttf; 13 Leisure 15 Correspondents: INLAND : Bangalore - N. Ananthapadmanabharao, Ph : 25532658. Kusuma Rao, Ph : 23222593 Katte Sathyanarayana Rao, Ph : 23604663 Mysore - Dr. V. Nagaraj, Ph : 0821-511133 Mumbai-B. Nagabhushan, Ph: 0251-2472475 FOREIGN : California : Malathi Iyengar Ph: 818 788 6860.Nacheketa Sharma - Ph : 001 - 650-960-6906 Lavanya Dinesh Ph : 717-576- 8295 * We Welcome all unsolicited material but do not take responsibility for the same. If these are to be relumed postage should be included * Letters are welcome * All rights reserved. Nothing may be printed in whole or in part without the written per- mission of the publisher. * The editors and publishers of Gunagrahi do their best to verify the information pub- lished but do not take responsibility for the absolute accuracy of the information. The opinions/views expressed by individual au- thors in articles published are not necessar- ily those of Gunagrahi. Articles, Photos, Write-ups, reports may also be sent to the following address : Editor General, 446, Jaraganahalli P.O. J.P. Nagar, Kanakapura Main Road, BANGALORE - 560 078. 3 GUNAGRAHI/NOVEMBER. M.S.Sheda & B.K.Kamuswamy i»a The very thought of a Santoor, brings to our minds the picture of a tall lanky, curly haired pleasant personality of Pandit Shiv Kumar Sharma. But, the name that is today syn- onymous with the 100 stringed (once folk instrument and argu- ably a descendent of the Shatatantri Veena) set foot into the classical world as a Tabla player. His father Pandit Uma Dutt Sharma was a purohit and musician, giving young Shiv Kumar his first lessons. One day Uma Dutta Sharma gifted his son, a quaint instrument that he believed his son would be known for. bringing the sanskaars from his/her previous life; training and technique develop- ment can be thought of only then. The next step is to find guru - who is not only knowl- edgeable, but also knows the shishya’s potential, strengths weaknesses and where/ what kind of guidance is required. After that, it is effort, ex- treme patience to face ups and down total commitment , God’s blessings and luck that differ- entiate an outstanding per- former from an average. By luck I mean good Karma, which along with God’s blessings can makanyone achieve their goal.” Santoor, unlike many of its Veena (sometimes any stringed instrument is referred to a as Veena) cousins is played by striking the string in a percuss- sound,quality.The Santoor was The Santoor maestro Pt.Shivakumar Sharma presen- ted for the irsl time in the Haridas Sangeet Sammelan at Mumbai way back in 1955, where he was actually invited for his Tabla recital. The audience gave a hearty applause and there was no looking back since. Shiv Kumar’s drive to make Santoor a mainstream classical instrument was growing stron- g e r, when an interesting turn of events brought him into the foray of film music. He remi- nisces, “Film music happened in 1955, when I came into contact with V. Shanta- ramji, for his film J liana k Jhanak Pay a I Baje. That was the first film in which a Santoor piece was used. After hearing my work, he offered the next film for music direction, but I had to turn it down as I wanted to estab- harma from there till M 5 1 Ilf . II l-i j WTM I l-i lew t rm But the journey of the Santoor and Shiv Kumar from there till now (when Shiv Kumar’s mu- sic enjoys a place in almost ev- ery household, hotel, music store, business establishment) has been long, arduous and rid- den with obstacles. Shiv Kumar describes what a typical classi- cal artiste goes through from student hood to Panditya, “A musician cannot be ‘created’, one has to bom with that ‘spark’ ive manner. Although appeal- ing the sound was discrete and lacked continuity that is re- quired to execute meend (con- tinuous unbroken stretch be- tween two notes) and other embellishments used in used in Alaap. Shiv Kumar sat down with the craftsmen to address these challenges, making sev- eral changes to the string com- position, interrelation, number and the bridges to improve its 4 lish the Santoor as a classical instrument.” The famous ‘Shiv-Hari’ duo was formed three years later as he recounts, “In 1961, I met Hariji (Hari Prasad Chaurasia) and instantly became friends. In 1967, we made ‘Call of the Val- ley’ - the first ever thematic music based on Classical ragas (it seems to be selling till date). The third musician was Brij Bhushan Kabra - the first per- (Contd.on page 6) HI GUNAGRAHI/NQVEMBER...2004 From the Editor General I Rapture of a sentient soul needed Like spurting springs are the young musicians and dancers ever agile and bubbling. Coax them and they would erupt in a meteoric, three-octave tana with each note like a bead in a rosary. Even minor, nondescript artistes set you wondering at their exper- tise and mobility in their movements and phrasings as the case may be. Monarchs of the moving note or body movements and histri- onic skills, one could as well say. It is true that in perseverance and devotion to the music or dance, they are second to none. A proof of this is the large number of musicians and dancers and big and small music and dance circles that have come into being in and around us. On any evening, a listener or a viewer is likely to have many concerts at the same time to choose from. However, one feels that apart from their temperamental leaning and doughty diligence in music or dance, there may be certain bilogical and other extraneous factors favouring the nip and celerity in their vocal chords and musical idiom in the case of a musician and movements of limbs in case of a dancer, in much the same way as echoing, long and lugubrious musical strains find favour with the moony and introspective artistic temperament This is nature’s dispensation which no one can alter or groan against. However in this dispensation, a kind of budgetary logic seems to operate. Nature seems to give something with one hand and take away with the other. Worldly wealth is often found to fall foul of health, happi- ness and domestic contentment. By the same token, what the vocalists and dancers have in finesse, speed and ornament, they tend to lose in the sobriety of contained expression. Rapture of a whirling speed and felicitous manipulation of the technique is there in abundance as compared to the rapture of a sentient soul that experiences and tastes the melodic bliss intuitively. Nevertheless, there are some noble exceptions to these general observations. Karnataka Kala Sri Dr. M. Surya Prasad. 5 ■I GUNAGRAHI/NOVEMBER...2004 (Contd.from page 4) son to play classical music on guitar; the rest who play today are only following that trend. Then in 1970. Hari and I did Jugalbandhi in Sweden where we gave our names as ‘Shiv- Hari’; from then on the name has continued. In 1980 we did music direction together for the first time for Yash Chopra’s Silsila ”, he adds nostalgically. But aren’t there many clas- sical musicians who feel that they should not associate them- selves with film music? He re- plies with a smile, “I do not be- lieve that classical musicians should not associate themselves with films. 1 think this ‘dislike’ for film music or categorising it as ‘inferior’, is done by those who are not able do much in the film music world!” “There is a long list of great musicians who sang, played or composed for films - Ustad Amir Khan Sahab sang for Jhanak Jhanak Payal Baje , Bade Ghulam Ali Sahab sang for Mughal-e-Azam , Pt. Bhimsen Joshi, Pt. Ravi Shankar. Ustad Ali Akbar Khan Sahab, Nikhil Bnaerjee, Pannalal Ghosh, Ustad Bismillah Khan Sahab, Ustad Vilayat Khan Sahab. . .who is left?” he chuck- les. “In fact, it is not easy to work for films, one has to have a definite thinking process for it - Classical music on the other hand is easier - learn, do riyaz and perform. It is a challenge to create something based on situ- ation, location and character ac- cording to the tastes of the di- rector, and is a completely dif- ferent ball game. That is why there are so few who can dabble in this - those who are in films stick to that kind of work and don’t venture into classical much.” When asked further whether people who return into classi- cal music bring a 'filmi* effect or dilute their classical music, he explains, “Not necessarily, those who have a firm founda- tion in classical music with the correct training keep the fine line between film music and classical. For singers the throw, pitch is different though. For in- strumentalists also it is difficult to do both genres; my son Rahul has composed for films, at the same time played with other world-class musicians like Ri- chard Clayderman. Yes, it needs extra talent and extra effort to focus on each sepa- rately and not allow ,the influ- ence to creep into the other.” Having such vast and rich experience, his advice for bud- ding musicians is that consis- tent, regular riyaz with constant creative thinking, steel like de- termination (to spring back into action no matter what failures come), and humility (not be swept off one’s feet when one sees success and fame) are the three things that matter. As for riyaz or practice, he explains, “It is difficult to de- fine rules for music - different musicians have different ca- pacities. Riyaz does not go by pre-defined formula that you do 1 5 hrs per day and you are as- sured of success.” “The body and mind should be completely fresh, concentration should be maximum and one has to evaluate one’s music critically/ objectively. In between if you are tired, stop rest and resume. If you are not able to correct the faults or improve the weak areas, go to your guru and dis- cuss,” he advocates. “Sometime ago I heard this singer. 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IS. dJf. doddejOo® (da 0 dort) dad^ (^t3) wdd d^TOdjrt^jaooA srod^ tidtoote oiaadjde oeAod ddaa - Odaa rttfa dada wdaiijafdrtCcd e. d&dTOAd dd. dadaafdd. acanaA 0^0 d .rf tf oto odda daQdd ?3ad O c3 cJjaecaad^, ddd Jsada.ddoart oo£> (iJoaiaBao^yja?^) daaosad dddrtv'a rf?v , arfo' Adaddda^ ^QQdj^. 0?^^^ (add) dad^ utooA oaAAV dd drtoia^ tfuaddd dadjafqJs^f dv"A dad-daJtj d-AVd 50ad -* o oia^Qddj- 8 | GUNAGRAHI/NOVEMBER...2004 Classical Dance and the Society During the period of the Quartet and for many decades afterwards, the dance was per- formed both in the temple and outside it in the courts of kings, princes and landed gentry. Apart from being offered as upachara or ritual, the dance was performed even in the temple and in temple-related processionals as art, to attract believers to the presence of god. Outside the temple, it was indeed an art form, though sometimes it was presented as cheap entertainment. The classical dance form that we see today has evolved quite a lot from the days it used to be danced in courts and tem- ples. But to stand the test of time any dance should have substance and a solid base. The need to acquaint oneself with one’s environment and society has inspired a number of es- tablished and upcoming artistes to think seriously and work hard to act, react and respond to create an impact on the so- ciety. As far back as 1957, Ram Gopal, one of the early Indian classical dancers to set a precedent in experimentation, had realised the need to prune the traditional dances of all re- petitive movement and light the stage adequately. Successful choreography happens if there is a thorough interrogation and proper understanding of the given structure. When the per- formance does not reach the targeted audience, the whole exercise becomes futile. The contemporary society can not be taken for granted. In the past several decades everything about the dance' changed. From being a part of history, Bharatanatya endeared itself to become the most popu- lar Indian classical dance. From a lurking caste bound practice, it became a fantastic art form that snapped its caste and regional definitions to cap- ture the entire nation’s popular and critical imagination. From being a fragile ritualistic dance that had originated in the tem- ples of South India, it became a vehicle for enlightening and en- tertaining performance. From a secluded and sacred art, it became public. From temple lintel to proscenium stage it be- came an object of celebration and of course some abuse. The democratization of the dance has been one of the key features of this renaissance. Eagerly accepted by conserva- tive society, it went on to break 9 all geographical boundaries to gain pan-Indian acceptance. The dance has also crossed its gender connotations and male dancers today are equally cel- ebrated as artists. All facets of the dance — its geometry, its narrative potential and its expressional capabilities — are being explored. Due emphasis is being laid on to improve body conditioning. To much of the world, the ability of the dance to be a car- rier of myths has been one ele- ment of its popularity. Its aes- thetics and artistry filled glam- our arouses popular imagina- tion. To reach the common man of the society, the dance was newly structured with improve- ments in sound, light, and stage technologies. The result was that every dancer could be a lovely angel! The aesthetics and the improvements in each of these fields impacted the dance. And the personalities and personal histories of the dancer-practitioners impacted the growth of the art form. Also, the intellectual component of the dance was finely honed, as em- powered dancers enriched the dance itself. All this was auto- 91 GUNAGRAHI/NOVEMBER...2004 matically done to capture the attention of the society. Great strides were made even in the teaching of the dance. From being a sacred art imparted from Guru to Shishya, classroom teaching became the norm and institutions, both state- funded and private, sprung all over to teach the dance. The teacher-student relationship be- came less starchy and a more collegial and probably more in- formal, teaching methodology suited to contemporary learners was evolved. Broader changes in the per- ceptions of the performance took place keeping in tact its grammar. Metropolitan life gave exposure to international cultural flavour including differ- ent styles and dance forms even within India, different choreog- raphy, themes, techniques of pre- sentation, costumes and stage- craft. It added greater openness to one’s thought process and choreographic presentations. One can notice a tremen- dous change in the presentation of Bharatanatya especially dur- ing the past 20 years. It has be- come more professional. Focus- sing the tradition through mod- ern techniques has only en- hanced the tradition and help in its propagation. More young- sters, non-south Indians and peo- ple absolutely unconnected to the arts are attending Bharatanatya recitals. Natu- rally, the dancers have started using more cross-cultural lan- guages and themes, accept the contemporary ideas besides ad- dressing various social issues. Exploration of one’s potential, experience and expression with the underlying aspect of enjoy- ment throughout have marked the evolution of dance perfor- mances. The wonder of creativ- ity and the joy of learning are indeed a miracle in itself. Lately, dance is also the fo- cus of criticism. It is damned as archaic and irrelevant to the modern times, especially by those who frown on its predomi- nant nayika-nayaka theme. It is often misperceived as being bound with bhakti alone, while in fact sringara or love has been its dominant motif. But in the same breath it is to be accepted that it has not remained frozen. Many of its practitioners, through their fresh and polished interpretations, have either given a new sheen to the traditional repertoire, that is, enhanced the value of the inherited treasure; or have added to the treasury by exploring new dimensions, prompted not only by fresh ar- tistic perceptions of their own, but also by such factors as changes in the audience mix and changes in social environment. 10 There are of course, the out- standing few who have done both. The technique and vocabu- lary of the dance-form can be used to depict a variety of themes and artistic conceptions. Not surprisingly they have been used to convey not only themes and conceptions associated with the Hindu faith and way of life, but also Christian and Buddhist themes. Additionally, they have been utilised at least once to project perceptions of Islam. Of course, choreographers and dancers have as well used them in recent times to present ab- stract ideas like nationalism, feminine power (Sakti) and the sanctity of the environment. Fur- thermore, the repertoire has been expanded to include com- positions in languages like Hindi and its dialects, Marathi and Bengali with contemporary themes. Interesting topics like male chauvinism, eve teasing, dowry, evils of the current edu- cation system, the caste and res- ervation systems, threat of nuclear weapons, AIDS, the population explosion, corruption in politics, bribery, religious fa- naticism, secularism, fraudulent godmen, the greed for riches, the Chinese aggression, the Dandi March, literacy, agricul- ture, mechanisation, industriali sation, environmental degrada- tion, universal brotherhood, ab- ■ ■■■■ ■■ ■ stract lines and forms, etc, are ex- pounded in the medium of Bharatanatya. Though it is a well-known fact that Bharatanatya is a state of mind, body and soul there has been a lack of real Gurus. The problem today is that even an inexperienced and un- exposed dancer becomes a Guru. The subtleties of the dance form are missed. Such Gurus have no in depth knowledge and the shishyas have no time. And hence quantity seems to overtake quality. The fall of kingdoms and courts led to decline in patronage and left the artistes suddenly support-less. The late 19th and early 20th cen- tury saw the merchant community of Chettiars and Mudaliars support the arts. Founded in 1927, the Mu- sic Academy was the only sabha, which took up the Fight for saving Sadirattam, thanks to enlightened members like E Krishna Iyer and others. However, it was not till the late 70s and early 80s that sabhas started dominating the dance scene. The chieftain system had been abolished and people wanted to get exposed to Indian arts. Since danc- ing in temples was banned, gradu- ally some groups of people in vari- ous parts of the city came together to form a sabha with an aim of pre- serving the tradition of Indian art forms. They have contributed well to the growth of dance to some ex- tent. The Sabha-culture popularised and democratised dance and music. The corporate sponsorship helped the sabhas sustain themselves. If this money can be used to set scholarships, welfare schemes, endowments and printing literature related to the arts the dance world would be that much richer. The presence of sabhas saves the dancer the trouble to look for her own spon- sor. In contrast. While the less pro- ficient but glamorised colleagues get crowned, talented youngsters are left out of the race. They are incapable of buying platforms from sabhas and even performance op- portunities are less for them. On some occasions, this has led to negative results. The dance has suffered in terms of aesthetics and quality, because of proliferation of sabhas leading to an abundance of performances and mediocrity of ex- ecution. While these sabhas continue to showcase Indian artistes, they also feature non-resident Indian (NRI) dancers, giving them an opportu- nity to perform in their own coun- try by collecting donations from them. This has led to Indian artistes accusing the NRI community of bribing the sabhas. The arrival of corporates on the cultural scene has been a boon to many artistes. Young dancers Find that better emoluments for perfor- mances commissioned by corporates balances the loss in rev- enue from sabha performances. The role of corporates has come under Fire from those who think that 11 in the 40 minutes of package, they do not present but trivialise the dance before an ignorant and some- times uninterested audience. How- ever, the professionalism of corporates has helped evolve the dance scene. However, a better communication between dancers and the corporate world could ben- eFit the dance. Corporates have money and the platform; there is no harm in using them as long as their dance at such occasions does not influence their traditional repertoire. There is yet another problem of Finding an opportunity to perform and going through the cumber- some ritual of arranging everything. By the time the artiste gets to per- form, she is too exhausted. The other side of the story is that you need to run after dancers because they are least bothered about pro- viding information about them- selves which is important if they need to have a programme or an invitation to perform. The well- meaning art impresarios need to take over the dance scene today. There has to be a deFinite cul- tural policy on dance through which India can beneFit as a global entity. At another level, art admin- istrators need to come together to build a larger network of perform- ing arts that extends beyond the geographical boundaries. Many artistes did yeoman ser- vice in popularizing the dance. Sev- eral dancers contributed to the growth of the dance form. Its schol- GUNAGRAHI NOVEMBER. ..2004 |||||||||| arship, documentation and critical emerged. It is notable, in this con- Indian dance tend to be rejected by base were enlarged. It became sub- text, that the dance has essentially the society. ject of seminars, retreats and dis- remained ekaharya, that is, a dancer The Dance is called the mother , cussions. in a single costume portraying in- of arts. Any art can be termed as Today the dance is at another directly or directly more characters the most important expression of crossroad. Serious dancers are at- than one, regardless of their gen- the aesthetic consciousness of an tempting to break the structural rou- der. It has been a different case in individual or a society. An artistic I tines that held so well for the past the presentation of dance-dramas, creation is the external manifesta- half century, to evolve new per- The sum an d substance of the tionofan inner urge, a tangible ex- spectives that reflect their individu- above analysis is that choreogra- position of the intangible creative alized creativity. Whether they can phies and performers who utilise impulse. The aesthetic appreciation stand the test of time and accepted t h e core characteristics of classical of an art and society’s acceptabil- by the society is to be seen. dance and yet add on extraneous ity implies an effective presenta- The dance is not gender spe- elements like martial arts, or aspects tion, an integrated end product of cific. It is open both for the male typical of other Indian dance- the two components - content and and the female; and it accommo- forms, or Modern dance of the form. dates tandava as well as lasya with- \y est are f ree t0 d 0 s0 j n t h e larger I would conclude saying that out reference to gender. Though interest of the society, so long as the challenge of the dancer is al- the greatest of all dancers is Siva- t h e y do not overstep the basic te- ways to catch the initial attention Nataraja, a purusha, historically, the nets of the classicism. Those who of the audience. 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